The Niggerization of the West

Multicultural America: The new Weimar era brought to you by the Jew media

Let me preface this post by saying that, unlike your average NV contributor, I am not 100 percent dismissive of all rap, hip hop and Black culture, yet the glorified chimp-out featured below does not even come close to meeting my minimum baseline threshold of decency acceptable for public consumption in a civilized society.

What kind of self-respecting Aryan people tolerates this kind of degeneracy in their midst, and how on earth could this feral nigger-bop be lionized as some sort of high art?

On the plus side, this “music” video provides the best argument against race-mixing, “civil rights” and equality that I can think of.

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To think after 6000 years of history Africa had no roads, bridges, cultivated fields, domesticated animals, or agriculture, or even a single written language, and yet, they can produce this kind of breathtaking quality entertainment. How to explain it?﻿

[Chorus: Beyoncé & Quavo]
Stack my money fast and go (fast, fast, go)
Fast like a Lambo (skrrt, skrrt, skrrt)
I be jumpin’ off the stage, ho (jumpin’, jumpin’, hey, hey)
Crowd better savor (crowd goin’ ape, hey)
I can’t believe we made it (this is what we made, made)
This is what we’re thankful for (this is what we thank, thank)
I can’t believe we made it (this a different angle)
Have you ever seen the crowd goin’ apeshit? Rah!

Beyonce is back in the news, being a very good negroid by standing up for her race: https://tinyurl.com/BeyonceYoGoGirl (no sarcasm intended). Ignoring Reebok’s denial that it happened, what would happen if whites did what she did for the reason she did, when it came to whom they relied on for news, entertainment, political commentary, and elected representation?

It’s not so much the “music” that gets under my skin… it’s the imagery. Why do these Negroes feel such a need to contrast themselves against distinctly European classic artwork and architecture? It’s a rhetorical question, here’s the answer: because they view us as the hated Other… and they see us as a “has been” people. In their own minds, we (along with our art and architecture) are “the terrible past”, while they and their chimping are “the glorious future”. It’s very apparent.

The hilarious part, though, is that it’s very UNTRUE. If White people fall to the Jewish murderers, the Negroes themselves will be yanked off their pedestals so quick that their eyeballs will pop out. And they’ll suffer a much more violent genocide at the hands of the Jews. They are living the high life, yes… for now. Too foolish to realize it.

They’re letting us know that western civilization is under new management now. That’s why they chose to desecrate great works of art at the Louvre museum by shaking their black booties at the works of the masters. Make no mistake. This is a big middle finger to White civilization and Whites everywhere.

Whites are capable of understanding abstract art (without lying to themselves), when the real art of a painting is in limiting abstractness to the recognizable, if not the real. Portrait art was largely replaced by photography but it’s still needed as a standard against which impressionism is compared for completeness. There’s nothing “political” here. Examples:

D.M.:…[U]nlike your average NV contributor, I am not 100 percent dismissive of all rap, hip hop and Black culture…
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There’s no accounting for taste. I won’t be viewing the Negro Youtube video, and as Chairman of the National Alliance, sponsor of National Vanguard, I’m on record as rejecting all rap, hip hop and Black culture, thank you. We can do better.

I wasn’t exposed to the offensive rap crap as a youth. My generation was raised with the inoffensive, mellifluous singing of a Nat King Cole, or Sarah Vaughn, then with the MOTOWN Negro “pop music” and Dick Clark’s American Bandstand. We didn’t know any better because that’s what we were served up at the time.

Some of the best news in music for whites outside of country music’s popularity were the arrival of grunge music and techno trance in the ’90s. Two different types of music, both impenetrable to negroids. Massive old-school trance ranged from pure electronica to vocals. Eastern European influence could draw a tear or two: https://youtu.be/6LbXw5Jp8K4
Grunge has long folded into rock and alternative but in the 1990’s new bands like Bush regularly appeared on SNL with few if any black faces; as for their concerts….you had to be there [ADULT content!] https://youtu.be/xrreDYxTqac

Travon, as far as electronic music, I grew up listening to the grandfathers of it. People like Brian Eno, Steve Roach, Geir Jenssen, groups like Tangerine Dream, Biosphere, Aphex Twin, etc. It’s good stuff. And very European, I agree.

Not really familiar with them. Similar to Mr. Williams, I was listening to top-40 “oldies” from the 1970’s until my 1990’s red-pilling, which meant hearing far too much negroid “doo wop” and frantic nonsense from the likes of Little Richard, that originally were played only on black R&B/religious stations like WWRL-AM in NYC. The mainstream (white) radio stations in the 1950’s and early 60’s played some beautifully crafted tunes rarely played on such “oldies” stations now, but that a white nation would enjoy: https://youtu.be/KO3K_oMXLLg
The changeover to Rock n Roll from Pop (which had its own black artists like Cole, but was aimed at adults who understood their role was ethereal, not sexual), was predictable; as jew Leo Mintz began integrating his Cleveland record store stock, jew Alan Freed began mainstreaming the negroid music at concerts, then on stations like WINS-AM in NYC. https://en.wikipedia.org/wiki/Alan_Freed . Due to the sexual nature of Rock n Roll, integration of the music was a dangerous development that Southern Evangelical religious commentators noted at the time. They would remain silent now.

Well, the way I see it, is thank God we don’t have to live forever. It was a tremendous mistake by our ancestors to have ever brought them over in the first place. I so wish that they had the ability to see into the future, I think they would have decided on picking their own cotton.

Yes, this is an assault on the beautiful white race. I hate to be so blunt, but they (being the filthy rodent jews) put this rebellious negro filth on a pedestal, and for the rebellious reason, our young children lap it up.

This is an absolute disgrace to even allow these untermensch even near these beautiful pieces of artwork. I’m quite sure the artists themselves are rolling over in their graves.

I honestly don’t see a way out of this mess short of a real life purge. Any ideas?

DM: “Unlike your average NV contributor, I am not 100 percent dismissive of all rap, hip hop and Black culture…”

In my ideal white nationalist state, anyone who ever liked any non-white art will be hunted down and deported to Africa for life. Should they have been found to have crossed back into the country after said deportation, it will be an automatic death sentence.

My first major exposure to recognizably Negro music occurred at an “integrated” school when I was ten years old. I was repulsed by it, but the Negro students loved it. Although I couldn’t have put it into words at the time, I realized intuitively that it had their race’s soul in it. The music that resonated with my soul, on the other hand, was the music that I heard each morning when my father had his stereo tuned to the local classical music station. Years later when I read some of Alfred Rosenberg’s writings, I understood immediately what he meant when he talked about the “race-soul.” Even my father, who was a musician but was not a racialist, would probably have understood it. The music that comes from one’s own race’s soul is music that individual members of the race can FEEL. It is a pity–although probably not an accident–that most of the classical music broadcast on radio stations in our country is served up by PRI and NPR, along with their propagandistic egalitarian “news” and special-interest programming. The implicit message seems to be “You can still like European culture, provided you hold views that ultimately lead to the destruction of the race that produced it.” This is why I buy classical CDs to listen to, but no longer listen to the radio.

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